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The Tempest and The Midsummer Night's | drawn from it, that Shak peare's story is someDrean are the noblest efforts of that sublime where to be found in an Italian novel, at least and amazing imagination peculiar to Shakspeare, that the story preceded Shakspeare. Mr. Colwhich soars above the bounds of nature, without lins had searched this subject with no less fideforsaking sense; or, more properly, carries na- lity than judgment and industry; but his metare along with him beyond her established mory failing in his last calamitous indisposition, limits Fletcher seeins particularly to have ad- he probably gave me the name of one novel for mired these two plays, and bath wrote two in another. I remember he added a circumstance loitation of them, The Sea Voyage, and The which may lead to a discovery,—that the prinFaithful Shepherdess. But when he presumes cipal character of the romance, answering to to break a lance with Shakspeare, and write in Shakspeare's Prospero, was a chemical necroemulation of him, as he does in The False One, mancer, who had bound a spirit like Ariel to which is the rival of Antony and Cleopatra, he obey bis call, and perform his services. Taken is not so successful. After him, Sir John Suck- at large, the magical part of The Tempest is ling and Milton catched the brightest fire of founded on that sort of philosophy which was ther imagination from these two plays; which practised by John Dee and his associates, and ubines fantastically indeed in The Goblins, but has been called the Rosicrucian. The name soch more nobly and serenely in The Mask at Ariel came from the Talmudistick mysteries Ledlou Castle. WARBURTON.
with which the learned Jews had infected this No one has hitherto been lucky enough to science. T. WARTON. discover the romance on which Shakspeare may It was one of our author's last works. In be supposed to have founded this play, the beau- 1598, he played a part in the original Every ties of which could not secure it from the cri- Man in his Humour. Two of the characters tax sun of Ben Jonson, whose malignity appears are Prospero and Stephano. Here Ben Jonson to have been more than equal to his wit. In taught him the pronunciation of the latter word, the induction to Bartholomew Fair, he says : which is always right in The Tempest : "If there be never a servant monster in the "Is not this Stephano, my drunken butler ?" fair, who can help it, be says, nor a nest of an
And always wrong in his earlier play, The Mertiques? He is loth to make nature afraid in
chant of Venice, which had been on the stage bis plays, like those that beget Tales, Tempests,
at least two or three years before its publication and such like drolleries.” STEEVENS.
in 1600 : I was informed by the late Mr. Collins of Chichester, that Shakpeare's Tempest, for which
“My friend Stephano, signify, I pray you,” &c. no origin is yet assigned, was formed on a ro- -So little did Mr. Capeil know of his author, mance called Aurelio and Isabella, printed in when he idly supposed his school literature fta:ian, Spanish, French, and English, in 1588, might perhaps have been lost by the dissipaBut though this information has not proved true tion of youth, or the busy scene of public life oa examination, an useful conclusion may be